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A well round formation -the3-4-1-2 hinges on Fifa Points your own center forward. Spare hardly any to find yourself a dominate gamer at this position, as he shall be your main set-up man for the strikers. What you shall lack in defense you will make up for when advancing the ball up field.
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3b. 5b. 6b. 5d. 5b. 6b. 5d. 5b. 3d. 3b
3b. 5b. 6b. 5d. 5b. 6b. 5d. 6b. 7b
6b. 7b. 6b. 5d. 5b. 6b. 5d. 5b. 3d. 3b
3b. 4b. 6b. 5d. 5b. 6b. 5d. 5b
B=Blow. D=Draw. "AMAZING. GRACE" KEY. OF "C"
Hope this helps Eric33.
There certainly are a lot of options when it comes to mics and amplifying harmonica, believe me when I say I have explored as many as I could. After years of frustration I settled on Shure SM57's for close mic acoustic style, and a Rod Piazza built JT30 for amplified overdriven "Chicago" tone.
I played as a side man with a country rock legend for a couple years, strictly acoustic, no hand cupping of the mic. I would use an SM57 on a goose neck and play close. It really got me into using my hands for emphatic type playing that I hadn't up 'til then really explored.
I listened to what you and your wife are doing, I like it. Trying close playing to an SM57, don't hand cup the mic, use your hands for note shaping, wah wahs, and the like, you'll be adding much more to your duo, and allow you to back away from the mic and still add some "spice" without playing over the top off your vocalist, which is almost impossible to do when you are hand cupping a hot vocal mic. I have heard of open jams in which the harmonica players are shut down if they so much as touch the vocal mic that is in a stand provided, kinda harsh maybe but I get it, set one level and everyone works with it, when someone grabs the mic to play they feedback, and it sucks, bigtime.
BTW, I too own a Shure SM58 that is over thirty years old, I feel it has more headroom than even the highly touted Shure Beta 58's they came out with. What I mean by headroom in this case is more gain before feedback.
Oh yeah, the reason I recommend the 57 as opposed to the 58 is because it is more directional and less likely to pick up your wife's guitar, vocals, or anyone else for that matter.
Hi Eric. Anything really. I have been practising Amazing Grace. It's slow but it's getting there.
Yes I think it was at the blowsmeaway site. I'm doing some upgrades on my harps etc. Electronics are not my strong point..
(I come from carpentry background where much could be solved with a bigger hammer so to speak)
I thought I had 2 sure 58 and a 57 ..but what I really have is 2 sm 58 and pga 58 with an on off switch. Physically they look like a picture of a 57, but I assume there is a difference and that a "bulletizer" works with the 57 and not 58's. I'll want to watch my expenditures so I'll need to make sure I'm not to confused as to what I might think I want and what actually would be of good use.
my mentor/teacher uses 58's... we've had my wife's for 30+ years. It's a bit banged up but always woks fine. she uses a mic stand.
Right now I use mine as a hand held, I expected feed back but not a problem apparently with my set up. Before using it as a handheld I was told the" rule of thumb" was to play 1 " from the mike when using mic stand.
Much like you mentioned I made a bunch of recording the same riffs with the wind screen on and off. With the screen off the harp sounds truer and brighter. With the screen on it's more forgiving but the subtleties are more muted. When I unscrew the ball I see it lined with foam and I think that is why it's a bit more muted.
There are so many mics and options out there it get a bit confusing, so if push comes to shove I'll continue with my set up...but always look to improve
without get to carried away with the $$ .
We play pretty light weight stuff, my wife does the vocals and guitar, we are our own 'roadies' so we want to keep our gear to a minimum.
Hi Harpoman,is there any particular tune you would like to play on the Chromatic.One that you know like the back of your hand.Providing I know the tune,I will send you the tabs.Eric33.
Hi. I can tongue block and bend notes on the diatonic harp, I'm learning on the chromatic harp too obviously not bending. . I just want to play something now to get my confidence up. If that sense? I will practice tongue blocking. thank you.
I saw this comment on the homepage and I posted a quick reply but I wanted to post something more detailed.
"if the harmonica plays good and sounds great leave it alone. if it's not broke don't fix it"
At the time, I had recalled reading a better response to that comment but I didn't want to post it without proper attribution. I thought it was in Winslow Yerxa's HARMONICA FOR DUMMIES but I couldn't find exactly what I was looking for. Fortunately, I just found it online here:
Short excerpts: "For a harmonica that is bolted together, the easiest thing you can do to make it play better is to take it apart and put it back together! ...How does taking a harp apart and putting it back together help its performance? Well, when harmonicas are assembled in the factory, the bolts sometimes don’t get screwed in all the way. Later, as they travel in a cargo container on the high seas, vibration can loosen the bolts."
In fact that's exactly what happened with the very expensive Soprano Single harp I recently purchased. I noted an odd "rattle" which one would not expect on a premium harp. This harp has the reed plates held on with bolts that go through both reed plates with the bolts going into individual nuts. This is unusual in that harps are usually held together with bolts that pass through the blow plate and go into threaded holes in the draw plate (no separate nuts). I discovered that several nuts on the soprano harp had loosened causing the bolt/nut assembly to rattle. It was a simple fix (carefully retorquing the nuts and bolts; starting at the center and working towards the outer edges).
While I don't really see a need to take things apart on a routine basis, the covers on a harp can usually be removed by just unscrewing two bolts. This gives access to the reed plate bolts if you want to check the bolt torque.
Harpoman, You wrote that you didn't want Tongue blocking Tabs. Now this is confusing because Tongue blocking and Puckering use the same holes. If you are a puckerer you need to put in the effort to master tongue blocking. There is so much more you can do with the tongue to master chromatic playing. You can be playing either and change during a song. I know many have written that they find it difficult to tongue block, but most things are difficult until they are learnt. It is difficult to learn to bend notes on the 10 hole diatonic. But hear the blues sound when they finally learn. So, just something to consider.
If you are referring to a photo at Greg Heumann's site blowsmeaway.com of a *Bulletizer, it is being used
with a Shure SM57, a stick mic with no ball on the end. The *Bulletizer is used to give the player a little more
to hold to avoid cramping.
I use 57's for vocal and acoustic harmonica work, I own a couple 58's, I just like the 57's better as they're more directional
and tend to pick up less over-bleed from other instruments or voices. I live in Florida, so I would never expose my mic elements..
I have never seen or heard of anyone ever removing a wind screen and playing directly to an element in all my time playing.
Why not do an AB comparison recording of playing the same tune/riff with the wind screen on and off?
Here's a free website for harmonica players, tablature only,
for solo system slide chromatic and 10-hole Richter diatonic:
It's a play-along site, with thousands of tunes. You may
download the tabs and the recorded music, FREE.
Welcome to the Harmonica Club!
I have been a member here for 15 years, I live in Lakeland, I play in Tampa occasionally.
Regards, Reed (Pete)
I am so tight I squeak, looking for a deal, or trying to create one, I just can't see it as a bad habit.
What Dex said.
I built my *Frankenstein Fabulous, with Fabulous diatonic reed plates (Key of D, 7limit just) I bought from Rockin Ron.
I had called Ron about an order and as we chatted a Suzuki rep showed up at Ron's with 2 sets of Fabulous reed plates
in D for a ridiculous price at the time. I bought Promaster cover plates from Ron, and a blue anodized aluminum comb
from Tom Halchak @ Bluemoon, put it all together for less than $100.
Been a go to harp for going on four years.
I picked up a rocket harp in G. I like it a lot,
I've been doing my "homework" on how to settle onto a sound that I like.
Today was the 1st time I realized that people unscrew the ball at the end and play directly into the element.
It never crossed my mind till I saw a web site for harps selling a collar to hold the mic.
So I did the same (no collar though) and did a bunch of recordings with and without the top being on.
I'm on the end of the spectrum where I want a clean sound or as clean as reasonable.
So it worked great with the single notes and split chords if I hit em nice and clean. Had to keep a nice even keel when playing,to try and keep it from being to erratic sounding.
So nice experiment, I figure screw the top on when playing accompaniment then for solo songs take it off.
Thinking ,it seem more like having to separate mics.
I'd be open to ideas on how to even the tone out a bit...
Reed Smith wrote:
What is so special about the comb????
Not surprised the reed plates needed gapping. They Fabulous uses the same plates as Manji and Promaster, $35-40 a set.
The exuberant price for the Fab stems from the comb much more than the plates, as they are nothing special.
Since Suzuki reeds are weld attached as opposed to rivet, there is no "dimple" on the bottom of the draw plate that needs
to be flat sanded. That said, you should be able to use your gauge to check the reed plates for warping that could lead to "airiness", which by the way is considered a word here in the States anyway.